BONDS  AND  MORTAR  JOINTS 

Their  Influence  on  Brickwork 
By  J.  PARKER  B.  FISKE,  S.B. 

No.  25 


Copyright  1912 


J.  PARKER  B.  FISKE 


Detail  of  Mosaic  Panel 

“Tapestry"  Brick  House  at  Oyster  Bay,  N.  Y. 


For  several  decades  the  unfortunate  practice  has  existed  in  America, 
of  laying  face  brick  in  the  wall  so  as  to  show  only  the  “stretcher”  or  long 
face  of  the  brick,  without  exposing  the  headers  to  view. 

Lovers  of  good  brickwork  may  well  rejoice  that  this  custom  is  rapidly 
passing  away  and  that  the  value  and  importance  of  “bonds  in  brickwork” 
are  now  rapidly  asserting  themselves. 

In  using  the  word  “bond”  we  refer  to  the  pattern  which  is  worked  in  brick 
and  mortar  on  the  face  of  the  wall,  in  preference  to  its  other  but  wholly 
different  usage,  which  signifies  the  manner  in  which  the  face  wall  is  con¬ 
nected  to  the  rough  brickwork  or  “backing-up”  wall. 

Many  text-books  and  articles  on  bricklaying  have  been  published  from 

time  to  time  but  different  authors  give  differ¬ 
ent  names  to  the  same  thing  and  the  same 
name  to  different  things,  thus  producing  much 
confusion.  We  believe  that  the  terms  herein 
given  are  those  used  by  the  best  authorities 
on  the  subject. 

The  most  common  of  the  bonds  used  in 
this  country  is  known  as  the  “Running  Bond” 
and  is  illustrated  herewith.  In  this  form  of 
brickwork  no  “headers”  are  allowed  to  show 
in  the  face  of  the  wall,  except  where  the  building  laws  make  it  manda¬ 
tory  to  “tie  in”  the  face  wall  to  the  “backing-up”  wall  with  header 
brick;  under  these  conditions  every  fifth  or  sixth  course  of  the  face 
brickwork  is  made  entirely  of  headers.  In  either  case  no  attempt 


Running  Bond 


3 


fuss 

Flemish  Bond 


is  made  to  incorporate  any  pattern  or  design 
into  the  face  of  the  wall.  It  is  the  simplest 
and  at  the  same  time  the  least  effective 
way  of  laying  brick.  It  discards  all  chance 
of  ornamentation  in  the  “field  of  the  wall” 
and,  while  utilitarian,  is  wholly  inartistic. 

Unless  a  most  rigid  economy  makes  the 
use  of  the  “Running  Bond”  necessary,  its 
employment  is  a  wasted  opportunity — the 
leaving  of  something  undone  which  might  have  been  done  to  beautify  and 
adorn  the  structure. 

We  find  the  “Flemish  Bond”  extensively  used  in  the  “red  stretcher 
and  black  header”  effect  of  Colonial  brickwork.  It  is  used  frequently, 
however,  with  bricks  of  a  comparatively  even  color  and  adds  largely  to  the 
artistic  feeling  of  the  wall.  This  is  particular¬ 
ly  true  where  the  mortar  joints  are  “raked  out,” 
allowing  each  brick  to  stand  out  by  itself.  It 
attains  its  greatest  charm  when  used  with 
brick  which  vary  in  color,  where  the  same 
proportion  of  light  and  dark  shades  appears  in 
both  headers  and  stretchers,  thus  dissipating 
the  disagreeable  checkered  effect  so  often  seen 
in  Flemish  Bond  work. 

The  “Double  Stretcher  Flemish  Bond”  has  been  used  in  some  of  the 
best  brickwork  in  America  and  is  a  very  pleasing  combination  of  the  two 
bonds  previously  mentioned.  Where  the  headers  are  different  in  shade  from 
the  stretchers,  this  bond  produces  vertical  stripes  which  accent  the  height 
of  the  wall. 

The  “English  Bond"  is  particularly  appropriate  for  the  English  style  of 

house  now  popular  in  many  parts  of  America. 
The  greater  part  of  England’s  best  brickwork 
is  laid  in  this  manner  and,  wherever  used 
in  this  country,  the  “English  Bond”  has 
given  added  interest  and  sentiment  to  our 
brickwork. 

Preeminently  artistic  and  filled  with 
interesting  possibilities  is  the  “Dutch 
Bond.”  Ap  pea  ring  first  in  the  fifteenth 

and  sixteenth  century  construction  of  Belgium  and  Holland,  it  is  now  found 
in  general  use  in  the  finer  work  of  the  Low  Countries.  From  the  fact 
that  it  has  been  used  here  and  there  in  England,  it  is  called  by  some, 


Double  Stretcher  Flemish  Bond 


at 


English  Bond 


although  we  believe  illogically,  the  “Eng¬ 
lish  Cross  Bond."  Like  the  “  English 
Bond,"  it  consists  of  alternate  horizontal 
courses  of  all  stretchers  and  all  headers, 
but  differs  from  it  in  its  arrangement  of  the 
alternate  stretcher  courses.  By  reference 
to  the  accompanying  illustrations  it  will 
be  seen  that  the  “English  Bond”  has 
the  stretchers  of  the  third,  fifth,  seventh,  and  succeeding  alternate  courses 
directly  over  the  stretchers  of  the  first  course,  while  in  the  “Dutch  Bond" 
the  stretchers  of  the  third  and  seventh  courses  break  joints  with  the  stretch¬ 
ers  of  the  first  and  fifth  courses,  and  so  on. 

Nothing  better  illustrates  the  possibilities  of  art  in  brickwork  than  the 
instant  transformation  of  the  entire  appearance  of  a  wall  by  this  simple 
change.  The  “English  Bond"  is  picturesque  and  strong,  it  is  true,  but  to 
the  artist  it  is  largely  a  meaningless  mass  of  brick  and  mortar.  The  mere 
rearrangement  of  the  stretchers  which  the  Dutch  employ  throws  continuous 

diagonal  lines 
across  the  face  of 
the  wall,  produc¬ 
ing  a  diaper  pat¬ 
tern,  the  strength 
of  which  is  de¬ 
pendent  upon  the 
width  and  color  of 
the  mortar  joint. 
Without  adding 
materially  to  the 
cost  it  gives  just 
that  touch  of  art 
which  is  so  neces¬ 
sary  for  the  relief  of 
blank  wall  spaces. 
It  is  refreshing  to 
notice  that  the 
brick-designers  of 
our  country  are 

availing  themselves  of  this  simple  and  delightful  means  of  decorating  wall 
surfaces  which  otherwise  would  lack  beauty  and  interest,  and  that  they  are 
accomplishing  these  results  by  a  legitimate  use  of  the  constructive  material 
itself  without  the  injection  of  any  “foreign"  decoration. 


Dutch  Bond 


5 


« 


TDi!©  Ofc'fiai?  JoDGoG 


Interior— Kaschaner  Thor — Kum,  Persia. 


In  much  of  our  best  American  brickwork  we  are  now  using  mortar 
joints  from  one-half  inch  to  one  inch  in  thickness,  constituting  from  15  to 
30  per  cent,  of  the  entire  wall  surface. 

If  a  wide  mortar  joint  is  of  appropriate  color  and  texture,  it  adds 
greatly  to  the  beauty  of  the  wall;  if  otherwise,  it  is  a  blemish.  One  has  but 
to  look  about  him  to  see  numberless  instances  where  the  mortar  has  well-nigh 
ruined  an  otherwise  good  piece  of  brickwork. 

For  a  narrow  joint,  a  mortar  made  of  fine  sand,  cement  and  lime  answers 
all  the  requirements.  For  a  wide  joint,  such  mortar  is  entirely  unsatisfac¬ 
tory.  It  is  soft  and  pasty,  squeezing  out  of  the  joints  before  it  is  set,  due 
to  the  weight  of  the  brick,  and  thereby  greatly  hindering  the  rapid  progress 
of  the  work.  Being  of  a  sticky  nature,  it  smears  the  face  of  the  brick  and 
usually  ruins  the  finished  effect. 

Because  of  these  troubles,  some  bricklayers  object  to  the  wide  mortar 
joint,  claiming  that  brick  cannot  be  thus  laid  either  satisfactorily  or 
economically. 

These  troubles  have  invariably  arisen  from  the  use  of  the  wrong  kind 
of  mortar.  If  the  following  directions  are  carefully  followed,  we  do  not 
hesitate  to  say  with  all  possible  emphasis  that  perfectly  satisfactory  results 
will  be  obtained,  not  only  in  the  character  of  the  finished  work,  but  in 
its  cost.  Practical  experience  has  repeatedly  demonstrated  that,  with 
the  proper  kind  of  mortar,  brick  can  be  laid  with  a  wide,  rough  joint  even 
more  rapidly  and  economically  than  with  the  narrow,  highly  finished  joint. 

G 


COMPOSITION  OF  THE  MORTAR 

Mortar  for  a  wide  joint,  that  is  to  say,  three-eighths  of  an  inch  or  more, 
should  contain  a  liberal  proportion  of  fine  pebbles  known  to  the  trade 
as  “grit,”  good  coarse  sand,  Portland  cement,  a  small  amount  of  lime 
putty  or  hydrated  lime  and  whatever  coloring  matter  is  desired. 

The  following  description  of  materials  for  wide  mortar  joints  may  be 
useful  for  a  clear  understanding  of  this  matter: 

“Grit.” — This  material  consists  of  pebbles  varying  from  1-32  of  an 
inch  in  diameter  to  a  diameter  about  equal  to  one-half  the  width  of  the 
joint,  that  is  to  say,  “grit”  for  a  half -inch  joint  should  contain  pebbles 
not  over  1-4  inch  in  diameter.  This  “grit”  should  be  screened  free  from  sand 
in  order  that  a  measured  amount  of  both  “grit”  and  sand  may  be  used  in 
the  mortar.  The  practice  of  using  a  mixture  of  sand  and  pebbles  as  the 
material  comes  from  the  ordinary  sandbank  is  usually  unsatisfactory, 
owing  to  the  varying  proportion  of  “grit”  thus  obtained. 

The  proper  use  of  “grit”  is  the  key-note  to  the  wide  mortar  joint  ques¬ 
tion.  “Grit”  gives  the  mortar  a  short,  granular  consistency,  making  it 
impossible  to  smear  the  face  of  the  brick.  Moreover,  it  gives  the  mortar 
a  certain  “body,”  comparable  in  a  degree  to  concrete,  making  it,  even  when 
soft,  capable  of  sustaining  a  heavy  load.  Thus,  with  a  mortar  containing 
the  proper  proportion  of  “grit,”  one  course  of  brick  after  another  can  be 
laid  rapidly  and  the  mortar  will  not  squeeze  out  of  the  lower  courses  even 
while  it  is  still  soft. 

To  omit  “grit”  in  the  mixing  of  the  mortar  is  to  invite  continual  trouble 
during  the  progress  of  the  work  and  final  failure  in  its  finished  appearance. 

Sand. — Unless  a  very  white  joint  is  desired,  any  good  ordinary  bank 
sand  or  “native”  sand  is  perfectly  satisfactory,  provided  it  is  coarse  and 
sharp.  Sand  coming  from  salt  water  beaches  should  absolutely  be  'prohibited , 
as  the  salt  often  effloresces  from  the  mortar  joint  in  the  spring  of  the  year, 
thereby  causing  very  disagreeable  disfigurement. 

Cement. — Any  first-class  Portland  cement  is  satisfactory. 

Lime. — Where  lime  putty  is  used,  it  should  be  thoroughly  slaked  until 
all  lumps  are  disintegrated.  On  small  work  and  in  certain  localities  the  use 
of  dry  hydrated  lime  will  be  found  not  only  convenient,  but  economical. 

Coloring  Matter. — This  must  be  determined  to  suit  each  individual 
case,  according  to  the  taste  of  the  designer. 

The  formulae  given  on  the  following  pages  provide  for  “French’s”  mortar 
colors.  Other  makes  may  be  used,  but  the  quantity  must  be  determined  in 
accordance  with  the  color  value  of  the  particular  material  used. 


7 


MIXING  OF  THE  MORTAR 


We  venture  the  statement  that  nine-tenths  of  the  unsightly  patches 
and  blotches  in  mortar  joints  can  be  traced  directly  to  an  improper  method 
of  mixing  or  to  gross  carelessness  on  the  part  of  the  mixer. 

For  wide  mortar  joints  the  common  practice  of  slaking  the  lime  and 
mixing  with  sand  in  a  large  storage  bed  in  the  early  stages  of  the  work, 
and  then  “gauging”  small  lots  with  cement  from  time  to  time  as  mortar 
is  required  by  the  bricklayer,  should  absolutely  be  prohibited.  While  this 
method  may  serve  fairly  well  in  the  case  of  narrow  and  inconspicuous 
joints,  it  is  almost  certain  to  produce  streaks  and  patches  of  varying  color 
and  texture  in  the  case  of  wide  joints. 

We  have  frequently  seen  mortar  joints  in  the  same  wall  varying  from 
white  to  a  mouse-gray,  owing  to  the  fact  that  the  mortar-mixer  did  not 
measure  his  materials,  but  “gauged"  them  with  his  eye  or  “judgment.” 
When  the  mixer  gets  the  mortar  too  soft  it  is  a  common  practice  to  put 
in  more  cement  to  stiffen  it,  the  result  being  that  no  two  batches  of  mortar 
are  alike  in  color.  With  such  a  “hit  or  miss"  method,  satisfactory  results 
are  impossible. 

The  ingredients  of  each  batch  of  mortar  should  be  accurately  measured. 
Too  much  importance  cannot  be  attached  to  this  rule. 


Marc  Eidlitz  &Son,  Bldrs.  Donn  Barber,  Archt. 

A  STUDY  TO  DETERMINE  THE  BEST  MORTAR  JOINT 
FOR  THE  LOTOS  CLUB  HOUSE,  NEW  YORK 


This  panel  is  built  with  three  different  mixtures  of  mortar  and  finished  partly  “  raked  out  ”  and  partly 
“rough  cut  flush.”  Notice  (even  in  the  picture)  how  a  variation  of  mortar  alters  the  whole  appear¬ 
ance  of  the  brickwork.  Unfortunately  this  spotted  effect  is  seen  too  often  in  a  finished  building. 


8 


DETAIL— HOUSE  AT  OYSTER  BAY,  L.  I. 

Mortar  joint  one  inch  thick.  “All  difficulties  vanish  with 
proper  materials  and  a  proper  method  of  mixing.” 


Suitable  measuring  boxes 
should  be  provided  and  their 
careful  use  should  be  insisted 
upon.  A  little  care  at  the 
mortar  bed  will  be  repaid  many 
times  over  by  the  improved 
appearance  of  the  building  in 
which  the  mortar  joint  forms  so 
important  a  part. 


We  respectfully  suggest  that 
the  architect’s  specifications  in¬ 
clude  the  following  paragraph: 

“The  ‘grit,’  sand, 
cement,  lime  putty  (or 
hydrated  lime )  and 
coloring  matter  shall  be 
accuratelv  measured  in 
suitable  measuring 
boxes,  furnished  by  the 
contractor  and  approv¬ 
ed  by  the  architect. 

1/ 

The  ‘gauging’  of  lime 
mortar  with  cement 
shall  be  absolutely  pro¬ 
hibited/’ 


Upon  request,  we  will  furnish  a  placard  of  instructions  printed  in 
large  type  on  linen,  to  be  posted  near  the  mortar  bed. 


COLORS  OF  MORTAR  JOINTS 
Generally  speaking,  we  recommend  the  following  colors  of  joints  for 


Tapestry’'  Brick  of  our  several  groups: 

Red"  Group . 

Cream  grav  mortar . 

....  Formula  “P ” 

or 

Dark  reddish  brown  mortar . 

....Formula  “B” 

Gray”  Group . 

Dark  gray  mortar . 

.  .  .  .Formula  “N” 

Golden”  Group  .  . 

Cream  grav  mortar . 

.  .  .  Formula  “P” 

or 

Light  gray  mortar . 

.  .  .  .Formula  “L” 

9 


FORMULAE  FOR  MORTAR  MIXING  FOR 
“TAPESTRY”  BRICKWORK 

Note  No.  1. — The  following  formulae  are  based  upon  the  use  of  a  16- 
quart  bucket  (the  unit  of  measurement  for  small  batches)  and  a  Portland 
cement  barrel  (the  unit  of  measurement  for  large  batches),  the  average 
capacity  of  which  is  96  quarts. 

Note  No.  2. — The  coloring  matter  to  be  used  in  connection  with  these 
formulae  is  French's  Peerless  Mortar  Color  (paste)  and  French's  Cement 
Mortar  Color  (powder),  manufactured  by  Samuel  H.  French  &  Co., 
Philadelphia,  Pa. 

These  formulae  have  been  thoroughly  tested  with  these  particular  color¬ 
ing  materials,  which  should  therefore  be  used  to  secure  the  desired  results. 

Note  No.  3. — In  computing  these  formulae,  the  U.  S.  Standard  Liquid 
Measure  has  been  used. 

Note  No.  4. — Lime  Putty  may  be  used  instead  of  “Hydrated  Lime." 


FORMULA  “B”— FOR  DARK  BROWN  MORTAR 


Materials 


Proportions 


34  inch  Grit 
Coarse  Sand 
Portland  Cement 
Hydrated  Lime 
Yellow  (Powder) 
Brown  (Paste) 
Black  (Paste) 


2  parts 

5  “ 

i  part 

34  “ 

34  “ 

X  “ 

Vao  “ 


Quantities  for 
Small  Batches 


4  Buckets 


i  bucket 
io %  quarts 
10%  “ 

5  gills 


Quantities  for 
Regular  Work 

2  Barrels 

5  “ 

i  barrel 

34  “ 

32  quarts 

OO  << 


FORMULA  “  L  ’’—FOR 


Materials 

34  inch  Grit 
Coarse  Sand 
Portland  Cement 
Hydrated  Lime 


Proportions 


2  parts 


1  part 

%  “ 


LIGHT  GRAY  MORTAR 

Quantities  for 
Small  Batches 

4  Buckets 
10  “ 

2  “ 

1  bucket 


Quantities  for 
Regular  Work 

2  Barrels 

5  “ 

1  barrel 

%  “ 


FORMULA  “N”— FOR  DARK  GRAY  MORTAR 


Materials  Proportions 


34  inch  Grit 

2 

parts 

Coarse  Sand 

5 

<< 

Portland  Cement 

1 

part 

Hydrated  Lime 

34 

<< 

Yellow  (Powder) 

V12 

u 

Black  (Paste) 

Vit> 

<< 

Quantities  for 
Small  Batches 

4  Buckets 


1  bucket 
2%  quarts 

O 


Quantities  for 
Regular  Work 

2  Barrels 

5  “ 

1  barrel 

%  “ 

8  quarts 

6 


FORMULA  “P”— FOR  CREAM  GRAY  MORTAR 


Materials 

Proportions 

Quantities  for 

Small  Batches 

Quantities  for 
Regular  Work 

34  inch  Grit 

2  parts 

4  Buckets 

2  Barrels 

Coarse  Sand 

5  “ 

10  “ 

5 

Portland  Cement 

1  part 

2  “ 

1  barrel 

Hydrated  Lime 

%  “ 

1  bucket 

34  “ 

Yellow  (Powder) 

X  “ 

5%  quarts 

16  quarts 

10 


FINISH  OF  JOINTS  FOR  ORDINARY 
FACE  BRICKWORK 


The  texture  and  finish  of  a  mortar  joint  are  governed  by  the  materials 
of  which  it  is  composed  and  by  the  manner  in  which  it  is  treated  by  the 
bricklayer  as  the  work  progresses. 

In  some  localities  a  barbarous  practice,  known  as  “tucking,”  still  has 
some  vogue  but  it  is  not  good  workmanship.  It  consists  of  raking  out  the 
joints  as  the  brick  are  laid,  then  allowing  the  wall  to  dry,  after  which  the 
“tucker”  fills  in  the  open  joints  with  very  fine,  white  mortar.  He  leaves 
behind  him  a  glaring — almost  glittering — wall  which  is  anything  but  ar¬ 
tistic  and  which  often  resembles  a  new  kitchen  oilcloth.  Furthermore,  such 
work  lacks  permanency,  as  the  shallow  joint  is  particularly  susceptible  to 
frost  and  other  weather  conditions,  and  after  a  few  seasons  the  “tucker” 
comes  around  to  get  another  contract. 

As  a  general  rule,  however,  the  bricklayer  finishes  his  own  work  and, 
for  smooth  brick,  may  use  one  of  the  following  joints: 

“Struck”:  made  bv  drawing 
the  point  of  the  trowel  along  the 
joint,  so  giving  a  smooth  surface 
which  is  flush  with  the  lower  edge 
of  the  upper  brick  but  slightly  back 
of  the  upper  edge  of  the  lower 
brick. 

“  Weathered  ” :  made  by  draw¬ 
ing  the  point  of  the  trowel  across 
the  joint  in  a  slightly  slanting 
position,  so  cutting  off  the  mortar 
at  the  top  of  the  joint,  but  leav¬ 
ing  the  bottom  flush  with  the 
edge  of  the  brick. 

“Tooled":  made  by  using  a 
tool  known  as  a  “jointer”  with 
an  end  either  half-round  or  “V”- 
sliaped. 

“Rodded”:  made  by  using  a 
straight-edge  and  cutting  a  straight  line  with  the  edge  of  the  trowel  along 
the  top  and  bottom  of  the  joint,  flush  with  the  edges  of  the  brick.  This 
joint  is  very  similar  to  a  “struck”  joint,  but  is  a  somewhat  finer  finish. 

None  of  the  above  methods  in  common  use  with  ordinary  face  brick  are 
suitable  for  “  Tapestry  ”  Brickwork . 

11 


Rodded 


Tooled  with 
Round  End  Jointer 


FINISH  OF  MORTAll  JOINT  FOR 


‘  ‘  TAPESTRY  ’  ’  BRICKWORK 

The  texture  of  the  mortar  joint  should  be  in  harmony  with  the  texture 
of  the  brick.  It  is  irrational  to  use  a  rough  finished  brick  to  give  texture 
to  a  wall  and  then  to  flatten  that  texture  by  using  a  smooth,  finished  joint. 

Therefore,  the  smooth  joints  described  on  the  preceding  page  are  wholly 
unfit  for  “Tapestry”  Brickwork.  They  have  been  described  to  show  what 
should  be  avoided  rather  than  what  should  be  chosen. 

The  principal  precaution  in  finishing  the  mortar  joint  in  “Tapestry” 
Brickwork  is  to  avoid  smoothing  it  in  any  way  either  with  a  trowel  or 
with  a  finishing  tool. 

Either  of  the  following  finishes  is  suitable: 


The  “raked  out”  joint  is  obtained  by  cutting  back  the  partly  set  mortar 
from  the  face  of  the  brickwork  with  the  end  (not  the  head)  of  a  20-penny 
(or  larger)  cut  nail,  the  sharp  edges  of  which  will  thoroughly  clean  the  mortar 
from  the  arrises  of  the  brick  and  leave  the  surface  of  the  joint  flat  and  rough. 
The  depth  of  the  rake  should  be  from  1-8  inch  to  1-2  inch,  depending  upon 
the  amount  of  “shadow  effect”  desired. 

The  jpoint  of  the  trowel  or  a  rounded  tool  of  any  kind  should  never  be  em¬ 
ployed  for  this  purpose,  as  it  tends  to  rub  the  mortar  into  the  rough  edges  of  the 
brick,  giving  a  very  untidy  effect. 

The  “rough-cut  flush”  joint  is  made  by  allowing  the  mortar  to  ooze 
out  beyond  the  surface  of  the  brick  and  then  cutting  off  the  surplus  with  a 
quick  stroke  of  the  trowel,  just  after  the  mortar  begins  to  set.  Great  care 
should  be  taken  in  doing  this  work  not  to  smooth  the  surface  of  the  mortar. 


12 


STYLE  OF  FINISH  FOR  DIFFERENT  COLORS 
OF  “TAPESTRY”  BRICK 


Generally  speaking,  we  strongly  recommend  the  following: 

“TAPESTRY”  BRICK,  “RED  GROUP”: 

In  the  case  of  the  “Cream  Gray’’  Mortar  the  joint  should  be  “Rough 
Cut  Flush  ";  in  the  case  of  the  “Dark  Brownish  Red"  Mortar  the  joint 
should  be  “Raked  Out"  to  cast  a  shadow. 

“TAPESTRY”  BRICK,  “GRAY  GROUP”: 

Experience  has  shown  that  a  “Rough  Cut”  Mortar  Joint  is  very  unde¬ 
sirable  with  gray  brick,  as  the  brick  and  the  mortar  are  so  nearly  the 
same  color  and  texture  that  the  wall  loses  character  and  looks  like  a 
monotonous  cement  surface.  The  joint  should  therefore  be  “Raked  Out.'" 

“TAPESTRY”  BRICK,  “GOLDEN  GROUP”:  - 

Unless  a  distinctly  white  joint  is  used,  thereby  setting  out  each  brick 
distinctly,  the  joint  should  be  “Raked  Out”  as  in  the  case  of  “Tapestry” 
Brick  of  the  “Gray  Group.” 


METHOD  OF  LAYING  BRICK 

Face  Brick  should  invariably  be  laid  from  a  scaffold  from  the  outside 
of  the  wall,  never  overhand  from  the  inside.  It  is  impossible  by  the  latter 
method  to  get  joints  of  equal  thickness  and  finish  or  to  do  good  work  in 
other  respects. 

BRIEF  SUMMARY 

First.  Use  “Grit.” 

Second.  Measure  all  materials  carefully. 

Third.  Lav  the  brick  from  an  outside  scaffold. 

Fourth.  Never  smooth  the  joint. 

Fifth.  Be  sure  vour  mortar  is  not  too  soft. 


13 


TRADE  MARK 


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REGISTERED  U.  S.  PATENT  OFFICE 


The  Most  Artistic  and  Permanent 
Building  Material  in  the  World. 

It  is  economical  and  suitable 
for  any  building  worth  building. 

The  “Tapestry”  Brick  for  a 
$7000  detached  house  costs  only 
about  $400. 

It  assures  a  beautiful  exterior 
without'one  cent  of  future  outlay 
for  maintenance. 

It  is  really  cheaper  than  wood. 

The  satisfaction  it  gives  can 
not  be  measured. 

There  is  only  one“Tapestry”  Brick.  Our 
Trade- Mark  is  stamped  on  each  brick. 


, 


Write  and  tell  us  what  you  are  planning  to  build;  send  architects’  eleva¬ 
tions  and  our  Designing  and  Color  Department  will  suggest  pattern  work 
and  color  scheme.  Send  for  our  books,  beautifully  illustrated  in  colors. 

F1SKE  &  COMPANY,  Inc.,  Arena  Bldg.,  New  York 

Promoters  and  Designers  of  Artistic  Brickwork. 

Sole  Manufacturers  of  “Tapestry”  Brick. 


HENRY  J.  F.  LUDEMAN 
ARCHITECT 


“Tapestry”  is  our  Registered 
Trade  Mark. 

It  is  the  legal  name  of  our 
Brick. 

It  cannot  be  rightfully  used 

other 


in  connection  with  any 
Brick. 

To  protect  you  against  sub¬ 
stitution  it  is  branded  on 
each  Brick,  either  on  the 
flat  side  or  the  back. 


F1SKE  &  COMPANY,  Inc 

Boston  and  New  York 


jsMS I 


TpISKE  fr-  COMPANY  INC 
lACE  BRICKS!  ESTABLISH 

Hire  bricks)  ed  in  1864 


Promoters  and  Designers  of  Artistic  Brickwork 
Proprietors  and  Sole  Manufacturers  of 


Boston 

25  Arch  Street 


REG’DU.S.PAT.  OFF 
New  Y ork 
Arena  Building 


